Plot Overview

Bad Boys: Ride or Die, the fourth installment in the beloved buddy-cop franchise, delivers a high-octane narrative that leans heavily on the franchise’s established formula while attempting to inject new emotional stakes. Directed by Adil El Arbi and Bilall Fallah (returning from Bad Boys for Life), the film picks up several years after the events of its predecessor. Miami detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are back, but their lives have evolved in ways that reflect their aging realities—Mike is finally settling down with his new wife, Christine (Melanie Liburd), while Marcus is grappling with health issues after a heart attack at Mike’s wedding.

The plot kicks off with a personal crisis for Marcus, who, after surviving his near-death experience, emerges with a newfound sense of invincibility and a quirky spiritual outlook, believing he’s untouchable. This sets the tone for much of the film’s humor, as Marcus’s reckless optimism clashes with Mike’s more grounded, albeit anxiety-ridden, demeanor. Mike, now dealing with panic attacks triggered by past traumas (including his son Armando’s actions in the previous film), struggles to maintain his cool-headed persona. Their personal journeys are quickly overshadowed by a larger conspiracy: their late Captain Conrad Howard (Joe Pantoliano) is posthumously accused of corruption, tied to drug cartels—a claim the duo refuses to accept.

Determined to clear Howard’s name, Mike and Marcus dive into a dangerous investigation, only to find themselves framed as fugitives. The narrative unfolds as a classic Bad Boys mix of personal stakes and professional chaos, with the pair on the run from both law enforcement and a shadowy villain, McGrath (Eric Dane), who’s orchestrating the conspiracy. Along the way, they’re joined by returning characters like Armando (Jacob Scipio), Mike’s estranged son, and AMMO team members Kelly (Vanessa Hudgens) and Dorn (Alexander Ludwig), as well as new faces like Judy Howard (Rhea Seehorn), Conrad’s daughter and a U.S. Marshal.

The screenplay, penned by Chris Bremner and Will Beall, doesn’t stray far from the franchise’s playbook: it’s a blend of over-the-top action, crude humor, and just enough heart to keep audiences rooting for the leads. While the conspiracy plot feels somewhat derivative—echoing countless action films where heroes are framed—the film compensates with its brisk pacing and relentless energy. Subplots involving Armando’s redemption and Marcus’s family dynamics add depth, though they occasionally feel shoehorned in amidst the chaos. Ultimately, the plot serves as a vehicle for the franchise’s strengths: the chemistry between Smith and Lawrence, explosive set pieces, and a nostalgic nod to simpler times in action cinema.

Character Dynamics and Performances

The heart of Bad Boys: Ride or Die lies in the interplay between Mike Lowrey and Marcus Burnett, a dynamic that has carried the franchise for nearly three decades. Will Smith and Martin Lawrence slip back into their roles with ease, their chemistry as electric as ever despite the years. Smith’s Mike is still the slick, sharp-edged playboy, but this time he’s weighed down by vulnerability—panic attacks and the burden of fatherhood to Armando give him a new layer of complexity. Smith balances these quieter moments with his trademark charisma, though some of the emotional beats feel underdeveloped, as if the film is hesitant to slow down long enough for them to fully land.

Lawrence, on the other hand, steals the show as Marcus. Post-heart attack, Marcus transforms into a man convinced of his own immortality, leading to some of the film’s funniest moments—like his reckless antics at a convenience store or his spiritual monologues about commanding the universe. Lawrence leans into the absurdity with a gleeful energy that feels like a return to his ’90s comedic roots, even if at times the shtick borders on cartoonish. His performance is the comedic anchor, elevating otherwise rote dialogue into laugh-out-loud exchanges, especially when he’s ribbing Mike about his newfound anxiety.

The supporting cast adds varying degrees of depth to the film. Jacob Scipio’s Armando gets a redemption arc that feels earnest but rushed; his scenes with Mike offer a glimpse of potential for future installments, though their reconciliation feels more plot-driven than organic. Vanessa Hudgens and Alexander Ludwig reprise their AMMO roles with competence, though their characters remain largely functional—more plot devices than fully realized individuals. Rhea Seehorn’s Judy Howard brings a no-nonsense intensity as a marshal caught between duty and loyalty, but her role feels underutilized given Seehorn’s proven acting chops elsewhere. Eric Dane’s McGrath is a serviceable villain, snarling through his scenes with requisite menace, though he lacks the memorable edge of past Bad Boys antagonists.

One notable criticism is the film’s handling of its ensemble. With so many characters vying for screen time, some arcs—like Mike’s marriage to Christine or Marcus’s family dynamics with Theresa (now played by Tasha Smith)—feel sidelined. The recasting of Theresa from Theresa Randle to Tasha Smith is jarring for longtime fans, and while Smith delivers a solid performance, the lack of explanation for the change underscores the film’s occasional disregard for continuity. Still, the core of the movie remains Mike and Marcus’s brotherhood, and their banter—whether they’re arguing over Skittles or dodging bullets—keeps the film grounded in its roots. It’s a testament to Smith and Lawrence’s enduring appeal that even when the script falters, their performances carry the day.

Action and Direction

Directors Adil El Arbi and Bilall Fallah, collectively known as Adil & Bilall, bring their signature kinetic style to Bad Boys: Ride or Die, building on the groundwork they laid in Bad Boys for Life. Having taken over from Michael Bay, the duo has fully embraced the franchise’s penchant for bombastic action while adding their own flair—think drone shots that zigzag through chaos and frenetic camera movements that mimic the adrenaline of a first-person shooter. Their approach is both a continuation of Bay’s maximalism and a modernization of it, swapping some of the dated excess for slicker, more self-aware absurdity.

The action sequences are the film’s strongest suit, delivering the kind of spectacle fans expect from a Bad Boys entry. Standouts include a prison brawl where Armando takes on multiple assailants with brutal precision, a helicopter escape that defies all logic but dazzles nonetheless, and a climactic showdown at an alligator farm that throws in everything from explosions to a giant albino gator for good measure. The latter, in particular, feels like a nod to the franchise’s roots—pure, unadulterated chaos with a side of humor (Marcus screaming at the gators to “begone” is a highlight). Adil & Bilall’s use of inventive camera work—like a POV shot during a shootout that mimics a video game—adds a fresh twist, even if it occasionally borders on gimmicky.

That said, the action isn’t without flaws. While the set pieces are thrilling, they sometimes feel disjointed from the narrative, as if the plot exists merely to string together explosions and gunfights. Some sequences—like an art gallery shootout—lean so hard into farce that they undermine the stakes, leaving the viewer more amused than invested. Additionally, the relentless pace can be exhausting; the film rarely pauses to let its quieter moments breathe, which might disappoint those hoping for more emotional heft to balance the spectacle.

Visually, the film is a feast, drenched in Miami’s neon glow and pulsing with energy. The directors’ love for the city is palpable, from the sun-soaked beaches to the gritty underbelly of its criminal world. The soundtrack, packed with hip-hop bangers and callbacks to the franchise’s iconic theme, amplifies the vibe, though it occasionally overpowers the dialogue. Editing is sharp but sometimes overly frenetic, reflecting the duo’s desire to keep the audience on edge at all times. While Adil & Bilall don’t quite match Bay’s raw, anarchic energy, they bring a modern polish that suits the franchise’s evolution—even if it sacrifices some of the original’s reckless charm in the process. Their direction ensures Ride or Die is never boring, even when the script falters, making it a worthy addition to the series’ action legacy.

Overall Impact and Reception

Bad Boys: Ride or Die arrives at a curious juncture for its leads and the franchise itself. For Will Smith, it’s a return to blockbuster territory after the 2022 Oscars incident, and the film doesn’t shy away from winking at that controversy—a scene where Marcus slaps Mike while he’s having a panic attack feels like a deliberate, if cheeky, nod. For Martin Lawrence, it’s a chance to remind audiences of his comedic prowess, and he largely succeeds, even if the script doesn’t always give him the sharpest material. Together, they prove the franchise still has gas in the tank, though it’s clear this is a series running on nostalgia as much as innovation.

The film’s strengths lie in its adherence to what fans love: the banter, the explosions, the unapologetic machismo. It knows its audience and delivers what they want—a mindless summer romp with enough heart to keep it from feeling hollow. The chemistry between Smith and Lawrence remains the biggest draw; their ability to bounce between humor and sincerity keeps the film afloat even when the plot veers into cliché. The action, while not groundbreaking, is executed with enough flair to satisfy genre enthusiasts, and the directors’ visual inventiveness adds a layer of polish that sets it apart from lesser buddy-cop fare.

However, the film isn’t without its shortcomings. The script feels overstuffed, juggling too many characters and subplots without giving most of them room to breathe. Themes of aging, redemption, and legacy are touched on but rarely explored with depth, leaving the emotional beats feeling perfunctory. The villain, while serviceably menacing, lacks the memorable edge needed to stand out in a franchise known for its larger-than-life antagonists. And while the humor lands more often than not, some gags—particularly those leaning into Marcus’s post-heart attack eccentricity—feel forced, as if the film is trying too hard to replicate the spontaneity of earlier entries.

Reception-wise, the film has found a solid audience, grossing over $400 million worldwide against a $100 million budget, making it a commercial success despite mixed critical reviews. Fans have largely embraced it as a fun, if familiar, return to form, while some critics have noted its reliance on formula over innovation. It’s not the best in the series—that honor still belongs to Bad Boys II for its sheer audacity—but it’s far from the worst, striking a balance between nostalgia and modern sensibilities. For all its flaws, Ride or Die proves there’s still life in this franchise, even if it’s more comfortable coasting on past glories than forging a bold new path. As long as Smith and Lawrence are game, it seems audiences will keep showing up for the ride—or the die.